Manual Verheerende Schlammflut in Indonesien (German Edition)

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  1. CSI HERITAGE BUNGALOW (Bed and Breakfast), Fort Kochi (India) Deals
  3. “Tempat Evakuasi Sementara” saves lives during the tsunami

Let's get together The start of their collaboration coincided with their departure on an extended journey. This they undertook in and and lead them to India, Indonesia, and Australia and travelling on banana boats and constantly delayed and rickety trains, by hitch-hike and on foot. On this journey they discovered the experiential richness to be found in slowness. And in an apparent sideline that resulted in the work "Lift Up," they developed what can be described as the phenotype of their collaborative work.

Each snap-shot depicts the same moment of a recurring action but always performed with different people: travelling companions, helpful hosts, or casual acquaintances talking the night away. The laughing faces of the people born aloft, suddenly and without warning, mirrors their bewilderment and moment of happy fright at their weightlessness. This expression recurs as the characteristic feature throughout this series of curious portraits that otherwise depicts distinct individuals in respect to age, gender, and ethnic identity. This brief moment of elevation, which with the repetition acquires a ritualistic quality, suspends and arrests the period of friendship.

In retrospect, this undertaking, which began without plan or concept, appears to have developed as an organic undertaking.

CSI HERITAGE BUNGALOW (Bed and Breakfast), Fort Kochi (India) Deals

Further collaborative projects followed. This staged an imaginary landscape and was included as part of the exhibition "Pulsions" at the Centre Culturel Suisse in Paris. The Heavy and the Weightless "Who is homeless, but also: Who is without a home, has the opportunity of finding themselves and others. The scenographers Holzer and Kobler had based the pavilion's architecture on the city's ancient walls and had used a combination of steel and corrugated iron to insert the structure into the sloping ground.

During months of heavy labour, Steiner and Lenzlinger conceived and developed the "Heimatmaschine" for this specific location. However, the term 'homeland' sets of alarms like those on well-secured paintings in museums whenever an attempt is made to define it with great precision. Homeland describes an overarching concept that can be awakened by the smallest and most insignificant hint, such as a song overheard or even a simple scent. Much like a Greek god, the concept of homeland has the ability to change appearances and shift through time and space.

And a yearning for the homeland can appear at any time and when it is least expected. Hence, the meaning of homeland remains diffuse. The "Heimatmaschine" claims that "homeland is produced" and depicts it as a changing product that is continuously shaped by humanity. Steiner and Lenzlinger's construction, weighted with materials and developed on location, begins on the upper level of the multi-storied exhibition architecture.

On climbing the stairs to the uppermost point, the viewers' gaze fell on a snow-white landscape consisting of the pearl-like urea granules. The urea pearls trickled down from high above and spread out to form an actual alpine panorama. Sacks of this agricultural fertiliser were piled along the side to form a base camp and a conveyor system was constructed to ensure the continuous downpour of these pearls.

This downpour set off avalanches at regular intervals, which descended into rivers that carved their path through the craggy landscape. And as the urea granules fell into the rivers, it dissolved to again form the aqueous solution we encountered earlier, bringing to mind glacial meltwater, over-fertilisation, and drainage water.

This liquid was then pumped through an unfathomable and complex series of tubes and into the lower-lying exhibition levels. Seven diaphragm pumps powered this system and imitated the systolic and diastolic rhythm of a beating heart. It formed to equal degrees both an apparently prototypical and a futuristic construction that consisted of cables and connections, stations and phases, containers and shelves. In its entirety, the construction recalled an alchemist's noisy workshop or an increasingly independent organism.

The uric solution that was constantly leaking from the series of gurgling pipes ensured constant humidity and the continuous growth of colourful crystals. These crystal slowly began to envelope and overgrow the machinery like rampant pioneer plants. To the viewer, the installation suggested that here, in this laboratory, the homeland was being produced, just as any other factory might produce paper or powdered milk. The necessary ingredients were all lined up on the shelves in neatly labelled containers, all ready for use: soap and cleaning agents, herbs, preserves, cow-pats, powdered skim milk, pictures of saints, dead flies, wart powder, neutraliser, a substitute diluter for compulsory military service, flash-frozen good manners, and such like.

A list of ingredients as if for a magic spell. The visitor found peace and respite from this overwhelming flood of stimuli in the third section of this construction.


This was the darkened "room of speechlessness. This was an ephemeral sculpture maintained in latency, which the artists have repeatedly made visible since this first awakening at Expo. It consisted of a warm uric solution placed in a large Plexiglas cylinder and with a closed cooling circuit.

During the day, the cooling circuit produced interlacing fine needles that formed a crystalline body growing around a wire mesh centre, while at night, when the cooling circuit stopped, this formation, with its aura of a magical crystal ball, dissolved again. In the "Heimatmaschine," everything was in the process of falling and flowing, sedimentation and manifestation were central themes as was the gravitational pull of identity-producing images.

The following year, in , the artist couple was catapulted to the attention of a wider audience with their awe-inspiring firework display of weightless and volatile materials. Released from the hold of gravity their work shot to great heights. Employing fine particles suspended in the air, they created the "Giardino calante. However, this title was due more to Saint Eustace, the church's patron saint, and with the church itself, which contains Doge Mocenigo's grave. The viewers entered a white-tiled space on bare feet to approach a large daybed placed at the centre of the room.

Laying on this daybed resulted in the most beautiful immersion into an inverted space. A glittering array of colourful plants dissected into individual parts hung suspended high beneath the church's ceiling. Into this the artists had further integrated tiny bones of birds found inside the church and made them part of the installation. Doing so they achieved a small miracle with the dead pigeons being resurrected once again. The filigree weightlessness of this ascension contrasted with the majesty and immobility of the stone walls and gave easy presence to an ideal imagination of transcendence.

The artists had found the walrus at a natural history museum and borrowed it from the museum for the duration of this exhibition. Nearly years later, Steiner and Lenzlinger baptised it 'Lolita' and then installed it as the altar piece within an exhibition space converted to a site of worship in its honour.

A soundtrack of the antarctica mingled with the sounds on the street of Madrid and recalled its journey through time. In honour of 'Lolita,' the artists undertook a pilgrimage from Almeria to Madrid. Along the way they collected objects, while plants from the El Ejido vegetable industry were harvested as part of a thanksgiving celebration and four Spanish writers recounted the walrus' journey to Madrid.

Image makers and Instigators "Better to have lost something than never to have had it. Their artist texts especially give the works a mythopoetic dimension. As texts accompanying the shows in exhibition catalogues, they exceed mere descriptive writing. They are fantastical works that recall the myths told by indigenous people or the peculiar notes of eccentric researchers.

We are reminded of Humboldt and friends, the recklessness of the early seafarers and adventurers, but also of Gulliver's Travels and of the tales of Thousand and One Nights. The texts feed on observations and reports that have been recounted to the artists and which are frequently acquired on their extensive travels.

The central figure is a dream reader who spends the nights at a library reading dreams from animal skulls together with a young librarian. Such accumulated knowledge is also stored in the books and folios contained in the venerable Stiftsbibliothek St. Gallen, which itself embodies a Foucaultian heterotopia in pure form. Boiled and bleached animal bones and plastic flowers define this installation and endow it with an animalistic quality, a force that aroused the deal struck by books between narrators and audiences like a midnight haunting.

Murakami, who also wrote the catalogue's introduction, noted that a story must "transport the listener's spirit to another place, displace him from his reality. The artists resided here in as the guests of the international artist-in-residence program and played the role of collectors gathering small and large stories given to them in exchange for memory-bearers.

The artists used linen sheets to construct an airy temporary space for contemplation that was vaguely reminiscent of a beduin tent or a hermit's cave. Crisscrossing the inside were strings from which objects were suspended beneath the tent's ceiling. The artists had either found these objects on the streets or they had been donated by the local lost property office. These objects included a bible, credit cards, key rings, shoes, gold jewellery, rusty nails, and toys. These overlooked, lost, and rejected objects hung from the ceiling like bait on a line, their singular meaning becoming evident within the exhibition context.

At the centre of the room stood a folding table and chair, along with a sign encouraging the visitor to take with them any object that recalled a specific memory. This memory was to be noted down on a piece of paper along with a sketch of the object and the whole was to hung in proxy of the object.

“Tempat Evakuasi Sementara” saves lives during the tsunami

As the exhibition drew to a close, the objects that had been transformed into notes, condensed and composed from memory, had nearly taken over the entire space. It is nearly superfluous to mention that Saint Antonius of Padua is the patron saint of lost articles. The mine, which had been bored into the mountain more than a thousand years ago, resembles a winding sculpture as if an inversion of a Bernini sculpture. However, this symbolic form does not convey the arabesque and the grotesque, but the burdensome and existential qualities contained in this monstrous Medieval feat of strength.

The visitors entered through a narrow tunnel system to emerge within an expanded cave. Inside the mountain's darkness there shimmered a rampantly growing public garden consisting of white, silvery, and transparent materials and which radiated from within. A waterfall that had been forked off from high above provided water for the garden, while more or less water flowed through a feeder tunnel depending on the downfall and the amount of rain and meltwater.

Here and there the delicate sound of a bell peel was heard and no-one would have been surprised at the appearance of the secretive mountain people from Novalis's "Heinrich von Ofterdingen. From these dreams the silver ore that had once been mined there should grow again. Film stills from "Mondgarten" reappeared as revenants in Steiner and Lenzlinger exhibition "Water Hole," realised in Melbourne in The artists had returned ten years after their first journey to Australia and dedicated an installation to the ACCA in Melbourne.

This installation was aimed at counteracting the water shortage that loomed there once again. Within the exhibition space they built a series of corridors using survival foil, a silvery synthetic material. The viewers passed down these corridors and were led to a water hole.

The lightest gust of wind elicited a faint rustling from the translucent membranes, while on its surface the visitors' silhouettes appeared. The images of people flitting past easily evoked the perception of animals finding their way to the water hole at the fall of dusk. The tunnel accessed a facility that sought to fulfil the promise invoked by the term "water hole," a term which has reverberated through the ages like an archaic spell.

This consisted of desiccated series of pipes, toilette bowls, and sinks, all objects symbolising the realm of sanitary installations. Within a household these objects mark the areas of the watercourses, the central places where water enters and drains away in a controlled manner.

In an inversion of their function, however, these objects were not assembled for facilitating consumption of water, but for enabling its reception. Here they served as quasi-shamanistic elements used to attract the precious water. These sanitary facility led to a bed placed somewhat to the side and draped with golden covers.

Its ostentatious bedstead alluded subtly to the gold rush that inundated 19th century Melbourne, while the mud-crusted indentation on the bed, the presumed water hole, revealed itself as a nearly dried-out hollow.

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Every minute, only one drop of water fell into this river- bed from a hospital drip. Irrespectively, all manner of mutant animals gathered at this zone of humidity and promised fecundity, with spiders made of mobile phones leading the way. The viewer, driven by the search to find water despite everything, arrived at an observation chamber where a water dispenser and drinking beakers stood ready.